Giant Swan are the gosh darn dopeness. Anyone who’s caught an earful of the Bristol duo’s recent drops on Timedance, FuckPunk or Mannequin can attest to the visceral majesty of their anarcho-techno sound. It was probably only a matter of time before they ended up on the fine Whities (Lanark Artefax, Minor Science), but it’s still a good thing that they’ve done so. The three tunes on Whities 016 are dance music for the end of the world.
12" £10.49 WHYT016
12" on Whities.
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- Whities 016 by Giant Swan
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Bristol dwelling duo Harry Wright (aka Mun Sing) and Robin Stewart have been absolutely slaughtering crowds with their ferocious and relentlessly energetic live shows. If you’ve been positively slain by one of their blistering live sets, you’ll know full well that what comes out of the speakers can separate flesh from bone. Dancers have been reduced to bare skeletons - dancing like puppets in squishy pools of melted skin and plasma.
Giant Swan have had records out on Howling Owl, FuckPunk, Timedance and just recently a stormer on Alessandro Adriani’s esteemed Mannequin label. Now, by a sort of happy accident they’ve landed on Nic Tasker’s Whities imprint. Apparently, Tasker received one of their records in error, dug it, and couldn’t resist getting these fiends on board for the most gloriously brutal record the label has cut to date.
‘Pax Britannica’ goes straight for the jugular with twisted, distorted vox. Its endoskeleton is essentially techno, but it also operates a wee bit at the intersection of industrial and rhythmic noise. It’s tough, dark, uncompromising, hard and heavy machine music that takes zero prisoners. These guys don’t f**k about - this isn’t music to consume - rather its music to consume you - and it’ll f***ing devour you - whole. Forget looking suave on the dancefloor - this is techno for the mosh pit.
These two maniacs don’t let up with the demented whip cracking drums and ghoulish vocals on nasty groover ‘IANAH’. It’s a harsh sound, and yet there’s a funk in there that will ensure hips shake and booty’s wiggle. Unlike so much loop based, locked to the grid industrial leaning techno, this feels freer - I really get the impression they kinda jam these out and capture the energy of the moment while they’re twiddling knobs rather than drawing it all with a cursor on a computer screen.
The hypnotizing mechanical groove of ‘The Plaque’ dwells over on the flipside - building intensity that threatens to prematurely erupt then drops out into driving distorted drums that sound like olde Regis on steroids -- but less linear and monotone. Then things get gratifyingly wonky and deranged in a way that recalls Subhead if you’re old enough to remember them. All three cuts are expertly primed and tweaked to enable one to lose one's shit.
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